Neutral & cream

A single stem splits and curls into two mirrored leaf shapes, cut from flat green exactly the way a papercut artist would work: no outline, just the shape of the plant itself against the paper.

A single poppy, its petals built from overlapping blocks of cream and sage rather than a continuous line, with one dark centre anchoring the whole composition.

An ornate glass dome catches the light on every ribbed panel, holding nothing but a single small golden object resting on the floor beneath it.

A hand holds out a generous bouquet of white anemones, their dark centres scattered across the page like a dozen small full stops.

Rows of small four-petaled flowers repeat edge to edge in cream and deep green, laid out with the regularity of a vintage wallpaper sample.

Dense ivy climbs and knots around a dark archway opening onto empty cream space: a doorway into somewhere unseen.

A tied bundle of lavender stands upright, its stems rendered in two flat tones of sage with the flower heads left as simple pale shapes.

An olive branch dips under the weight of its own fruit, leaves splayed out in two-tone green with a pale stripe running down each blade.

A bare, forking branch stretches diagonally across pale sage, reduced to its simplest silhouette: no leaves, just structure.

A fern frond leans diagonally across a checkerboard of forest green, sage, and cream squares, the plant and the pattern competing for attention.

Long pointed aloe leaves fan out from a striped bowl planter, each leaf a slightly different shade of sage against the pale room behind it.